Last week I went to see the dreams of COHANACO, Mariana Chaud and Leandro Halperin (Teatro San Martín 0800 333 5254) amazing thing, the strangeness of the fact of dreaming
Towards the end of a conference entitled "The Nightmare" (which can be read from the collection of lectures entitled "Seven Nights" and published by Emecé) Borges proposes a conclusion, "more poetic than scientific" that dreams are the oldest aesthetic activity. In dreaming, the mind prepares so surprising, even to the protagonist, because the dreamer is both character and author of the dream-what it represents: organize your images and then planting elements functional unveiled a plot. And he further this activity which is "very curious because it's dramatic order":
Towards the end of a conference entitled "The Nightmare" (which can be read from the collection of lectures entitled "Seven Nights" and published by Emecé) Borges proposes a conclusion, "more poetic than scientific" that dreams are the oldest aesthetic activity. In dreaming, the mind prepares so surprising, even to the protagonist, because the dreamer is both character and author of the dream-what it represents: organize your images and then planting elements functional unveiled a plot. And he further this activity which is "very curious because it's dramatic order":
in sleep are the theater, auditorium, actors, plot, the words we hear.
poetry and narrative abound throughout history, stories and representations of dreams, dreams of its authors and their protagonists, and thus make conscious and explicit the second level of representation, this single implementation gap is the story of dreams: what it is fiction, fictionalized. The theater also used, from time to time, though less frequently think, " representation of dreams, but in his case, the metatheatrical is displayed in its own limit the dramatic nature of the images of the dream: the dream is dramatic action. The work of Cohanaco Dreams, Mariana Chaud and Leandro Halperin, updates that way.
plot summary
The legendary desert nineteenth century is not so: it is inhabited. A small group led by Cohanaco tehuelche denies and confirms at once the fiery speech in history. Nomadic Indians, Chileans fugitives, English captives, everything is plural, despite being single. The alcoholic and philosophical chief is a woman who dreams of the future, as illusory as our present theater.
The legendary desert nineteenth century is not so: it is inhabited. A small group led by Cohanaco tehuelche denies and confirms at once the fiery speech in history. Nomadic Indians, Chileans fugitives, English captives, everything is plural, despite being single. The alcoholic and philosophical chief is a woman who dreams of the future, as illusory as our present theater.
linguistic code and the rectification of parody
How tehuelches represent? How to represent the desert and, basically, the weather? The power of theatrical mimesis reaches its limit in space and in the language: while we can still refer theater almost directly to an interior space, and you can use plain language that you hear extra scene to build a realistic effect must necessarily question their own modes of representation to go out to the outside and to speak to those whose voices we are outside or are dead. Dreams of Cohanaco invites the geographical and historical journey: stages the immense plateau, and starts talking to tehuelches nineteenth century. The problem is not the degree of realism that is achieved, but plausible. And this is a curious, antiparódico achievement of the drama and commissioning. The ground floor of the canopy, the background of vast horizon and, above all, poetic speech distortion of the men drunk tehuelches do what literature Argentina in the late 80's and early 90's refused to do with the Indian representation: create and recreate without rising-from-authority in this superb parody sneer. The
Chaud and Halperin Indians are drunks, they are philosophers, wimps, convicted, unrealistic but are essentially poetic.
The vigil
Magical thinking does not distinguish between waking and sleep. The events at both levels are equally real. It also invites theatricality, in its concrete here and now, to suspend disbelief and remove the limit of representation. It is an activity of the waking dream as it assumes the voluntary reverie. And I think that is the problem of theatrical representation of dreams, especially when both planes are on the scene separated. The chief Cohanaco, which is a real dream of the scene, dreams turn an incomprehensible future, which by default proposed as our reality-that of the twenty-first century audience. The dream of the chieftain (recurring dream is one) is clearly separated from his hypothetical wake. It's a dream that all of us, once evoked, we understand, but he did not. Companies
Magical thinking does not distinguish between waking and sleep. The events at both levels are equally real. It also invites theatricality, in its concrete here and now, to suspend disbelief and remove the limit of representation. It is an activity of the waking dream as it assumes the voluntary reverie. And I think that is the problem of theatrical representation of dreams, especially when both planes are on the scene separated. The chief Cohanaco, which is a real dream of the scene, dreams turn an incomprehensible future, which by default proposed as our reality-that of the twenty-first century audience. The dream of the chieftain (recurring dream is one) is clearly separated from his hypothetical wake. It's a dream that all of us, once evoked, we understand, but he did not. Companies
And the theatrical representation of that dream, aesthetically curious thing happens: while a fine selection of theatrical resources to face the challenge of a credible scenic Patagonian Indians, representation Sleep uses expressly theatrical paraphernalia off the scene of Buenos Aires in the last decade: the woman supine, eyes front and the red dress, is the monologue as a primary form, and microphone and Open House his songs, is the word chaotic and coral, the parody of forms and the restriction of acting. Cohanaco, in his own play, dream the dream the future and incomprehensible (to him) is not simply the contemporary theater, a dream of a reality that is lost.
Allegory
Dreams of Cohanaco are two works discussed among themselves, a naive, theatrical significantly in purpose, that of dreams in the background, the future in mind, what is from what appears to have been. And the other, the remarkable work of waking and the drunkenness, the visible and sad work of the absence.
Dreams of Cohanaco are two works discussed among themselves, a naive, theatrical significantly in purpose, that of dreams in the background, the future in mind, what is from what appears to have been. And the other, the remarkable work of waking and the drunkenness, the visible and sad work of the absence.
Bonus track The code remains the edge to watch. The chief Gobernori philosophy in a language that we imagine lost. And the culture of bad weather Leloutre Alice puts on his plastic plant a pregnant stage.
